KEY CREW: Skip Burrows, Ben Hargrove, Jacob Meador, Cedrick Courtois, Adam Keho
CONSOLES: Focusrite Control 24, Mackie Analog 32/8, SSL 4000G+ w/ Total Recall (72) Channels w/ Complete Motionworks Filmnet Syncro System.
COMPUTER WORKSTATIONS: Digidesign Pro Tools Mix system, 24-bit with 40 I/Os, Digidesign Pro Tools Mix system, 24-bit with 48 I/Os.
RECORDERS: Apogee PSX 100 96 kHz 24-bit converter, Denon Studio Cassette Desk (w/ Auto Calibrate), Fostex CR-200 CD recorder, Marantz 610 Pro CD recorder with Automation, Otari MTR 10 Mk II 1/2-inch two-track (w/ Dolby SR), MTR-90 Analog 24-track recorder, 48 tracks w/ Lynx II Synchronizers, TASCAM DA45HR 24-bit DAT, DA-88 digital recorders (96 tracks), 48 I/O 24-bit Pro Tools Mix Plus system.
MONITORS: Auratone Cubes, Genelec 1031s, Yamaha NS-10s.
PRES: Focusrite Channel Strip (two channels), Grace 201 (four channels), Groove Tube Vipre (single channel), Universal Audio 2-610 tube (two channels).
MICS: AKG 414s, C12 Tube, D-112s, Crown Custom PZM, Earthworks TC30s, Groove Tubes Md1b, Neumann TLM-170, U87s, Røde Classic IIs, Sennheiser 421s, Shure SM7s, SM57s, SM58s.
EFFECT PROCESSORS: Alesis Q2 Multi Effects Unit, Dynachord DRP-20, Eventide H-910, HD3000 SE, Korg DRV-2000, DRV-3000, Lexicon 300 (Software Version 3.2), LXP-1, PCM-70, PCM-80, SuperPrime, TC Electronics D2, M-2000, Yamaha SPX-90 MkII.
DYNAMIC PROCESSORS: Aphex Studio Dominator II, Stereo Compellor, dbx 165, Empirical Labs EL8 Distressor, EL7 FATSO Stereo, Joe Meek Stereo Opto-Compressor, Manley Stereo Mu Tube Limiter, Neve 9098 Mastering Compressor, SPL Transient Designer, SSL Dynamics Package (72) Channels, TC Electronics Finalizer, Tube Tech Three-band All-Tube Mastering Compressor, UREI 1178, 546 EQ (four channels).
SPECTRAL PROCESSORS: Amek Mastering EQ with Recall, Aphex Exciter Type C, BBE Sonic Maximizer, Dolby 740 Spectral Enhancer, Drawmer 1961 Tube EQ, Manley Massive Passive Tube Mastering EQ, Night Technologies EQ-3, SPL Vitalizer with Stereo Enhancer, UREI 546 EQ (four channels).
NOTES: If you were to rewind 25 years into the past, when Sunrise Studios — a simple eight-track facility nestled in the Houston, TX, city limits — first came into existence, you would probably be unable to grasp how this once-humble project studio grew into the world-class facility that it is today. From one room built with meager means, to four totally decked out “rooms,” Sunrise has become a true dream studio — playing host to a wide range of artists from Lenny Kravitz to Clint Black, Too Short to Yolanda Adams, Beyonce Knowles to Kings X. What’s more, it’s the home of the acclaimed Mediatech Institute, one of Texas’ finest recording engineering schools.
Each of Sunrise’s four rooms serve different needs and purposes: The 72-channel SSL 4000G+ driven “Grey Room” boasts a large performance live room complete with a Yamaha Grand, a B3, and a legion of drum kits (not to mention some truly classic outboard gear). The “Green Room,” which has been designed primarily for overdubs and mixing, has a sweet Control-24 and Pro Tools HD4 system that runs a vast array of plug-ins. The “Purple Room” has been custom-tailored for all purposes of the pre-production persuasion (especially beat programming), and is packed to the brim with sound modules. Last but certainly not least, the exquisite “Gold Room” was designed by chief engineer Skip Burrows, and fashioned with some of the finest absorption, bass trapping, and diffusion strategies in mind.
However, according to Burrows, “it’s not the technology that makes the facility great, it’s the people. Whether it’s a simple voiceover or a full orchestra synced to picture, Sunrise Sound listens to each person’s needs and works diligently to accommodate their requests. Thanks to all their clients over the years, Sunrise hopes to provide another 25 years of Sound service.”
And we’ll toast to that.